"Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave" -- L.v. Beethoven (1824).

Those are the words of the man considered the greatest composer of all, so it was a great compliment to receive for Handel. G.F. Handel was the complete 18th-century voyager, artist, and capitalist. Two modern day classical performers, the exquisite flute player Laurel Zucker and the skilled harpsichord player Robin Sutherland (pianist for the San Francisco Symphony); immortalize his work on The Complete G.F. Handel Flute Sonatas.

With each listen to the Sonatas (30 in total) presented on this breathtaking CD, I became more entranced and charmed with their elegance. To think for a moment of what went on in the mind of Handel to create such blissfulness, I cannot imagine the genius behind such fertile work. I was duly impressed with the nearly 70 minute long "11-14 Sonata in e minor, Op. 1, No. 1," not only for the sheer length and complexity, but for the amazing wherewithal and utter talent of these two artists and their resiliency and energy to put together such a piece. I must also tip my hat to the engineer Donald Ososke, whose intensity is readily apparent on this session. It must have been an arduous task to put this recording together.

This is classical music at is very zenith of enjoyment and perfection, I can not say any more, in fact I will let you listen to what Laurel Zucker had to say about the performance?

When Robin Sutherland, a long- standing, respected, member of the San Francisco Symphony, and I decided to record the Handel Sonatas for Flute and Harpsichord?I was delighted. These?sonatas are core repertoire for all serious flute students and professionals. The opportunity to record?with such an amazing artist, Robin, was?so satisfying. We were able to ornament and improvise so naturally together in the Baroque style. We did not have to edit?within any?movement, and as a result the recording session at Cunningham Chapel in California, only took several hours to complete. The engineer, my friend, ?Donald Ososke, was brilliant to work with as well. He understood how to record the flute and harpsichord in?a perfectly balanced manner, which is no easy task.